History Main / DarknessInducedAudienceApathy

10th Mar '17 12:05:50 PM igordebraga
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* ''Music/IronMaiden'':

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* ''Music/IronMaiden'':Music/IronMaiden:



* ''Music/JoyDivision''. Ian Curtis' lyrics and low-key vocals make his [[DrivenToSuicide death]] of little surprise. Martin Hannett's spartan production adds to the effect; even Bernard Sumner says in the "Joy Division" docu-film that ''Unknown Pleasures'' is almost ''too'' dark, and he prefers the more varied arrangements of ''Closer''.

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* ''Music/JoyDivision''. Music/JoyDivision. Ian Curtis' lyrics and low-key vocals make his [[DrivenToSuicide self-inflicted death]] of little surprise. Martin Hannett's spartan production adds to the effect; even Bernard Sumner says in the "Joy Division" docu-film that ''Unknown Pleasures'' is almost ''too'' dark, and he prefers the more varied arrangements of ''Closer''.''Closer''.
** On a lesser note, Music/TheSmiths and Music/TheCure, while happier than Joy Division, also have no dearth of depressing songs that depend on equal mood to properly enjoy (''Webcomic/EightBitTheater'' [[http://www.nuklearpower.com/2004/03/30/episode-401-civility-before-hostility/ even joked]]: "Look at those Cure albums. No emotionally balanced, healthy person would listen to that. This is obviously our perp.").
9th Mar '17 5:14:59 PM Ulkomaalainen
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* ''TabletopGame/BattleTech'' can reach this level if you care to check its backstory. The clash of multiple [[DeadlyDecadentCourt Deadly Decadent Courts]] (a clash which did not even so much as ''slow down'' when the Clans invaded) and continuous wars (against the Clans, against the Word of Blake, [[WeAREStrugglingTogether against each other]], etc) that have constantly knocked down the whole Inner Sphere can make the fluff feel to some like ''Literature/ASongOfIceAndFire'' [[RecycledInSpace IN SPACE]] with HumongousMecha (and you can read above about why ''this'' is a bad thing). There are plenty of sympathetic characters on the canon, but in the end the Inner Sphere is just not going to ''ever'' change from being a war-wreaked [[CrapsackWorld Crapsack]] ''[[UpToEleven Galaxy]]'', no matter their efforts, so why bother about seeing their success if you know in the long run it will all go to hell again?

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* ''TabletopGame/BattleTech'' can reach this level if you care to check its backstory. The clash of multiple [[DeadlyDecadentCourt Deadly Decadent Courts]] (a clash which did not even so much as ''slow down'' when the Clans invaded) and continuous wars (against the Clans, against the Word of Blake, [[WeAREStrugglingTogether against each other]], etc) that have constantly knocked down the whole Inner Sphere can make the fluff feel to some like ''Literature/ASongOfIceAndFire'' [[RecycledInSpace IN SPACE]] with HumongousMecha (and you can read above about why ''this'' is a bad thing).HumongousMecha. There are plenty of sympathetic characters on the canon, but in the end the Inner Sphere is just not going to ''ever'' change from being a war-wreaked [[CrapsackWorld Crapsack]] ''[[UpToEleven Galaxy]]'', no matter their efforts, so why bother about seeing their success if you know in the long run it will all go to hell again?
9th Mar '17 5:44:54 AM VoxAquila
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Added DiffLines:

* WebVideo/BennettTheSage often shows the most vitriol for anime like ''Anime/{{Genocyber}}'' and ''De:Vadasy'' that he deems to have no point but to be excessively miserable. His main contention with ''Anime/GraveOfTheFireflies'' is that just because it's a ''sad'' story, doesn't mean it's a ''good'' story.
16th Feb '17 7:57:07 PM merotoker
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Contrast TastesLikeDiabetes, this trope's polar opposite, and also RootingForTheEmpire, but ''only'' when all sides involved are evil and yet the audience still likes them. Compare and contrast {{Glurge}}, which is what happens when [[XMeetsY you combine the sickeningly sweet and the depressingly dark]].

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Contrast TastesLikeDiabetes, this trope's polar opposite, and also RootingForTheEmpire, but ''only'' when all sides involved are evil and yet the audience still likes them. Compare and contrast {{Glurge}}, which is what happens when [[XMeetsY [[JustForFun/XMeetsY you combine the sickeningly sweet and the depressingly dark]].



* The Tokusatsu parody ''Gun Caliber'' written and directed by the YouTube channel [[https://www.youtube.com/user/garageprotv/ Garage Hero]] takes place in an alternate Japan where [[spoiler: Superheroes have gone the way of celebrities and have become so insufferably corrupt that the government now regulates them using a ratings system. Heroes are now treated as [[AllOftheOtherReindeer national pariahs]] because of this and [[HeroWithBadPublicity are all but underground]]]]. The story attempts to hammer home the fact that the protagonist is a JerkWithAHeartofGold, but at no point does he display any of the positive qualities that make up a hero; instead coming off as a insufferable HeroicComedicSociopath who despite having a DarkAndTroubledPast that [[JerkJustifications explains their lethargy]], does utterly nothing but go on [[ADateWithRosiePalms many dates with Rosie Palms]] and [[HatesEveryoneEqually hate everything and everybody else around him the rest of the time]]. What doesn't help is that ''eight of the thirteen episodes'' of this series are dedicated not to world-building, (Though it is there) but to how unrepentant this [[NominalHero supposed hero]] and his setting is.[[note]] Episode 5 literally has him and three Sentai Expies [[DisproportionateRetribution haze a high-schooler that calls him and his cohorts out for ranting drunkenly in a public study area]]. Other [[SarcasmMode lovely feats]] also include him interrupting a reporter while drunk and tricking a DamselInDistress into giving him a blowjob.[[/note]] By the time Gun Caliber displays any redeeming qualities, the miniseries is basically over and it's too little too late. What doesn't help is that the setting is a CrapsackWorld inhabited by [[JerkAss Jerkasses]], [[EverybodyHasLotsofSex Overly-horny fools]], or [[BreadEggsBreadedEggs variations of both]]; and the two sole exceptions to this rule have a combined total of eight lines, tops. The show's attempts to send a ScrewDestiny message end up lost amid the sex jokes, stereotypes, unwavering cynicism, and utter lack of conflict. It seems like it's trying it's best to be a Franchise/KamenRider Parody in the same vein that HikoninSentaiAkibaranger is to SuperSentai, but instead of actually parodying the source material, it puts [[UpToEleven way too much focus]] on the "mature" alcoholic sex humor. As a result, ''Gun Caliber'' comes off as a miserable, bleak, depressing mess with a few [[ArsonMurderAndJaywalking amazingly-shot combat segments and nice cinematography]].

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* The Tokusatsu parody ''Gun Caliber'' written and directed by the YouTube Website/YouTube channel [[https://www.youtube.com/user/garageprotv/ Garage Hero]] takes place in an alternate Japan where [[spoiler: Superheroes have gone the way of celebrities and have become so insufferably corrupt that the government now regulates them using a ratings system. Heroes are now treated as [[AllOftheOtherReindeer national pariahs]] because of this and [[HeroWithBadPublicity are all but underground]]]]. The story attempts to hammer home the fact that the protagonist is a JerkWithAHeartofGold, JerkWithAHeartOfGold, but at no point does he display any of the positive qualities that make up a hero; instead coming off as a insufferable HeroicComedicSociopath who despite having a DarkAndTroubledPast that [[JerkJustifications explains their lethargy]], does utterly nothing but go on [[ADateWithRosiePalms many dates with Rosie Palms]] and [[HatesEveryoneEqually hate everything and everybody else around him the rest of the time]]. What doesn't help is that ''eight of the thirteen episodes'' of this series are dedicated not to world-building, (Though it is there) but to how unrepentant this [[NominalHero supposed hero]] and his setting is.[[note]] Episode 5 literally has him and three Sentai Expies [[DisproportionateRetribution haze a high-schooler that calls him and his cohorts out for ranting drunkenly in a public study area]]. Other [[SarcasmMode lovely feats]] also include him interrupting a reporter while drunk and tricking a DamselInDistress into giving him a blowjob.[[/note]] By the time Gun Caliber displays any redeeming qualities, the miniseries is basically over and it's too little too late. What doesn't help is that the setting is a CrapsackWorld inhabited by [[JerkAss Jerkasses]], [[EverybodyHasLotsofSex Overly-horny fools]], or [[BreadEggsBreadedEggs variations of both]]; and the two sole exceptions to this rule have a combined total of eight lines, tops. The show's attempts to send a ScrewDestiny message end up lost amid the sex jokes, stereotypes, unwavering cynicism, and utter lack of conflict. It seems like it's trying it's best to be a Franchise/KamenRider Parody in the same vein that HikoninSentaiAkibaranger is to SuperSentai, but instead of actually parodying the source material, it puts [[UpToEleven way too much focus]] on the "mature" alcoholic sex humor. As a result, ''Gun Caliber'' comes off as a miserable, bleak, depressing mess with a few [[ArsonMurderAndJaywalking amazingly-shot combat segments and nice cinematography]].
9th Feb '17 5:30:59 PM StarSword
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** The universe skirts this, as a setting based on unending war and horror that runs on [[EvilVersusEvil Black and Black Morality]] (well, maybe Black and Very Dark Grey Morality). However, most fans accept it as part of the basic premise of the setting, and most stories are told from a smaller scale perspective where there is good and evil, and good can indeed triumph despite the bleakness of the setting as a whole. Other bits of source material turn things up to 11 and use the bleakness as a source of black comedy.

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** The universe skirts this, as a setting based on unending war and horror that runs on [[EvilVersusEvil Black and Black Morality]] (well, maybe Black and Very Dark Grey Morality). However, most fans accept it as part of the basic premise of the setting, and most stories are told from a smaller scale perspective where there is good and evil, and good can indeed triumph despite the bleakness of the setting as a whole. Other bits of source material and licensed novels turn things up to 11 and use the bleakness as a source of black comedy.



** Literature/CiaphasCain outright defies the grimdark setting by pointing out a lot of the grimdark depictions - such as Commissars who execute willy-nilly and use Imperial Guard as little more than fodder - tend to get fragged, and depicts the Imperium as willing to negotiate with the Tau over an unimportant colony that's already been half-swayed to the Tau cause (because {{realpolitik}} means their military resources are better employed against the tyranids and necrons), something that wouldn't fly in stereotypical ''[=WH40k=]''.

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** Literature/CiaphasCain outright defies the grimdark setting by pointing out a lot of the grimdark depictions - such as Commissars who execute willy-nilly and use Imperial Guard as little more than fodder - tend to get fragged, and depicts the Imperium as willing to negotiate with the Tau over an unimportant colony planet that's already been half-swayed to the Tau cause (because {{realpolitik}} means their military resources are better employed against the tyranids and necrons), something that wouldn't fly in stereotypical ''[=WH40k=]''.''[=WH40k=]''. The series also avoids the AMillionIsAStatistic treatment of warfare common in the setting by humanizing it, such as in the sequence in ''Death or Glory'' where Cain enters a town orks have passed through and imagines the orks' treatment of the populace.
4th Feb '17 3:40:13 PM AlienPatch
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It is often said that "conflict is the soul of drama"; without some form of {{conflict}} to fuel things, there's no engine to drive the story and thus little reason to engage with it. However, we here at TV Tropes would like to propose an amendment to this phrase which includes something important but sadly all-too-often forgotten:

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It is often said that "conflict is the soul of drama"; without drama". Without some form of {{conflict}} to fuel things, things there's no engine to drive the story and thus little reason to engage with it. However, we here at TV Tropes would like to propose an amendment to this phrase which includes something important but sadly all-too-often forgotten:
31st Jan '17 7:04:04 AM IndirectActiveTransport
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* Ignoring the insanity of Wrestling/VinceRusso's endless use of the ShockingSwerve, this trope was one of the main causes of Wrestling/{{WCW}}'s decline. While the Wrestling/{{n|ewWorldOrder}}Wo [[EvilIsCool were cool]] for a while, they were '''the {{heel}}s''', which meant that they ultimately needed to suffer defeats, and meaningful ones. This, however, was a fact seemingly lost on everyone there (especially those members of the [=nWo=] who were involved in booking the stories - funny that). After years and years of watching the villains run roughshod over absolutely everyone, gloating and laughing, the whole thing just became pointless and depressing - they were '''never''' going to be defeated, and that was that. So people just changed the channel. In the end, the one saving grace was that the group's leader, "Hollywood" Hogan, reverted to being Wrestling/HulkHogan and returned to being a face - but that in itself could be considered a KarmaHoudini. Most people would probably argue that the New World Order storyline should've ended at ''Starrcade '97'', after Wrestling/{{Sting}} finally defeated Hulk Hogan (albeit in controversial fashion), thereby proving that, if nothing else, the nWo wasn't invincible. Of course, that arc itself came close to resulting in DIAA, since Sting was early on [[{{Frameup}} made to look as if he were secretly working for the nWo]], and his immediate reaction - [[AchillesInHisTent abruptly quitting WCW and entering into semi-seclusion for a time]] - didn't exactly allay suspicion. Indeed, Sting's enigmatic, smiling declaration of [[LogicBomb "The only thing that's for sure about Sting... is that nothing's for sure"]] - the last words he ever spoke before [[WhiteMaskOfDoom completely whitening his face]] and refusing to speak publicly for more than 14 months - kept people guessing for quite a while.
* Literature/TheDeathOfWCW talks about this from a booking standpoint. According to the author, [[CaptainObvious the best way to make money is to create a match fans want to see and one that they're willing to pay for to see]]. However, fans won't pay to see a bout if they can easily perceive a winner. In context to WCW's own entry on this page; the apathy factored into money bouts as well. Not only was Bischoff trying to put PPV matches on regular TV, but the sheer apathy of the heels running roughshod constantly make it a drain to see. Fans began to perceive who the winner would be (especially on the Souled Out [=PPVs=]) that money stopped coming into the PPV matches.
* The ''inVasion'' angle of the summer of 2001 also suffered from this. Wrestling/{{WWE}} fans, WCW fans, and {{Wrestling/ECW}} fans had hated each other for years, so when [[EnemyMine WCW and ECW unexpectedly decided to team up against the big bad WWE]], it looked like a battle for the ages. Except... the WWE writers sabotaged the whole concept by casting ''every'' WCW and ECW representative [[DesignatedVillain as a heel]], even though many of them had done nothing wrong. Worse, the leader of the WWE team was Wrestling/VinceMcMahon, hardly a likable character; his opponents were his children Wrestling/{{Shane|McMahon}} and Wrestling/{{Stephanie|McMahon}} and ECW chief Wrestling/PaulHeyman, all of whom were likewise {{Jerkass}}es. Finally, at the actual pay-per-view event WWE [[CurbStompBattle trounced the WCW/ECW Alliance so thoroughly]] that when [[spoiler: Wrestling/StoneColdSteveAustin]] defected to the Alliance and helped them pull off an unexpected victory, it was hard not to see this treachery as WWE getting its just deserts. (And all the Alliance members ended up joining or rejoining WWE shortly afterwards anyway, so what was the point?)



Wrestling/TripleH has also been largely involved in the "Wrestling/TheAuthority" storyline since mid-2013. Borrowing largely from [[Wrestling/VinceMcMahon Vince McMahon's]] "Mr. [=McMahon=]" character from the late 90s, Triple H and wife [[Wrestling/StephanieMcMahon Stephanie]] set themselves up as bad guy corporate leaders of the company, pushing guys who aligned with them into the main event title scene under the guise of such actions being [[ArcWords best for business]]. The difference between this scenario and the one back in the 90s is that The Authority has not had any face presence to counteract their actions. Wrestling/StoneColdSteveAustin brought the fight directly to Vince and fans delighted in watching him make Vince's life a living hell, while Vince could never come out and fire him because he made him too much damn money. The Authority has no such counterbalance, as top faces like Wrestling/JohnCena are never really setting themselves up in opposition and simply acting within the confines of the boundaries The Authority establishes. Former top heels either align with The Authority and lose a great deal of their [[DemotedToExtra autonomy]] (like Wrestling/RandyOrton), or wither like dry weeds (like Wrestling/TheMiz, Wrestling/DamienSandow, Wrestling/VickieGuerrero, or Wrestling/AJLee) when Triple H or Stephanie tell them it's their way or the highway, get in line or it's the unemployment line. And the fans know it. Unlike with the [[Wrestling/NewWorldOrder nWo]], there is no even the hope of a [[Wrestling/{{Sting}} masked savior]] waiting in the wings to bring down the machine, and so fans watch as The Authority rules the roost as the top bad guys either until a game changer comes along or until they get tired of the role.

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Wrestling/TripleH has also been largely involved in the "Wrestling/TheAuthority" storyline since mid-2013. Borrowing largely from [[Wrestling/VinceMcMahon Vince McMahon's]] "Mr. [=McMahon=]" character from the late 90s, Triple H and wife [[Wrestling/StephanieMcMahon Stephanie]] set themselves up as bad guy corporate leaders of the company, pushing guys who aligned with them into the main event title scene under the guise of such actions being [[ArcWords best for business]]. The difference between this scenario and the one back in the 90s is that The Authority has not had any face presence to counteract their actions. Wrestling/StoneColdSteveAustin brought the fight directly to Vince and fans delighted in watching him make Vince's life a living hell, while Vince could never come out and fire him because he made him too much damn money. The Authority has no such counterbalance, as top faces like Wrestling/JohnCena are never really setting themselves up in opposition and simply acting within the confines of the boundaries The Authority establishes. Former top heels either align with The Authority and lose a great deal of their [[DemotedToExtra autonomy]] (like Wrestling/RandyOrton), or wither like dry weeds (like Wrestling/TheMiz, Wrestling/DamienSandow, Wrestling/VickieGuerrero, or Wrestling/AJLee) when Triple H or Stephanie tell them it's their way or the highway, get in line or it's the unemployment line. And the fans know it. Unlike with the [[Wrestling/NewWorldOrder nWo]], there is no not even the hope of a [[Wrestling/{{Sting}} masked savior]] waiting in the wings to bring down the machine, and so fans watch as The Authority rules the roost as the top bad guys either until a game changer comes along or until they get tired of the role.



* Ignoring the insanity of Wrestling/VinceRusso's endless use of the ShockingSwerve, this trope was one of the main causes of Wrestling/{{WCW}}'s decline. While the Wrestling/{{n|ewWorldOrder}}Wo [[EvilIsCool were cool]] for a while, they were '''the {{heel}}s''', which meant that they ultimately needed to suffer defeats, and meaningful ones. This, however, was a fact seemingly lost on everyone there (especially those members of the [=nWo=] who were involved in booking the stories - funny that). After years and years of watching the villains run roughshod over absolutely everyone, gloating and laughing, the whole thing just became pointless and depressing - they were '''never''' going to be defeated, and that was that. So people just changed the channel. In the end, the one saving grace was that the group's leader, "Hollywood" Hogan, reverted to being Wrestling/HulkHogan and returned to being a face - but that in itself could be considered a KarmaHoudini. Most people would probably argue that the New World Order storyline should've ended at ''Starrcade '97'', after Wrestling/{{Sting}} finally defeated Hulk Hogan (albeit in controversial fashion), thereby proving that, if nothing else, the nWo wasn't invincible. Of course, that arc itself came close to resulting in DIAA, since Sting was early on [[{{Frameup}} made to look as if he were secretly working for the nWo]], and his immediate reaction - [[AchillesInHisTent abruptly quitting WCW and entering into semi-seclusion for a time]] - didn't exactly allay suspicion. Indeed, Sting's enigmatic, smiling declaration of [[LogicBomb "The only thing that's for sure about Sting... is that nothing's for sure"]] - the last words he ever spoke before [[WhiteMaskOfDoom completely whitening his face]] and refusing to speak publicly for more than 14 months - kept people guessing for quite a while.
* The ''inVasion'' angle of the summer of 2001 also suffered from this. Wrestling/{{WWE}} fans, WCW fans, and {{Wrestling/ECW}} fans had hated each other for years, so when [[EnemyMine WCW and ECW unexpectedly decided to team up against the big bad WWE]], it looked like a battle for the ages. Except... the WWE writers sabotaged the whole concept by casting ''every'' WCW and ECW representative [[DesignatedVillain as a heel]], even though many of them had done nothing wrong. Worse, the leader of the WWE team was Wrestling/VinceMcMahon, hardly a likable character; his opponents were his children Wrestling/{{Shane|McMahon}} and Wrestling/{{Stephanie|McMahon}} and ECW chief Wrestling/PaulHeyman, all of whom were likewise {{Jerkass}}es. Finally, at the actual pay-per-view event WWE [[CurbStompBattle trounced the WCW/ECW Alliance so thoroughly]] that when [[spoiler: Wrestling/StoneColdSteveAustin]] defected to the Alliance and helped them pull off an unexpected victory, it was hard not to see this treachery as WWE getting its just deserts. (And all the Alliance members ended up joining or rejoining WWE shortly afterwards anyway, so what was the point?)
* Literature/TheDeathOfWCW talks about this from a booking standpoint. According to the author, [[CaptainObvious the best way to make money is to create a match fans want to see and one that they're willing to pay for to see]]. However, fans won't pay to see a bout if they can easily perceive a winner. In context to WCW's own entry on this page; the apathy factored into money bouts as well. Not only was Bischoff trying to put PPV matches on regular TV, but the sheer apathy of the heels running roughshod constantly make it a drain to see. Fans began to perceive who the winner would be (especially on the Souled Out [=PPVs=]) that money stopped coming into the PPV matches.



* An ongoing angle in SHINE is whether the promotion should be honoring long time veterans or showcasing up and coming talents. The angle's been worked by pitting a heel on one end of the argument against more compromising or apathetic baby faces. But the angle ran into SHINE's tendency to book heel vs heel, so the audience wasn't too enthused by "Dinosaur Hunter" Leah Von Dutch vs 1940s throwback Thunderkitty...till Dutch turned face later that night.

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* An ongoing angle in SHINE is whether the promotion should be honoring long time veterans or showcasing up and coming talents. The angle's been angle worked by pitting a heel on one end of the argument against a more compromising or apathetic baby faces. face, giving matches good heat. But then the angle ran into SHINE's tendency to book heel vs heel, so the audience wasn't too enthused by "Dinosaur Hunter" Leah Von Dutch vs 1940s throwback Thunderkitty...till Dutch turned face later that night.
28th Jan '17 5:03:38 PM CyberTiger88
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This is the emotional result of [[ShadesOfConflict Black and Black Morality]]. Because the conflict between the equal evils is essentially meaningless, there is no dramatic tension. Maybe one EldritchAbomination eats you in a slightly less painful manner than the other one, but either way, you're still screwed. You can't support any factions or hold on to any ideals after this effect has set in. All you can do is sit agape as the writers apparently attempt to outdo themselves at making the setting [[FromBadToWorse even worse and more unpleasant and more nihilistic]] to the point where the media is a bland miserable monotone. This trope is not just about a CrapsackWorld, but about EvilVersusEvil and [[SlidingScaleOfIdealismVersusCynicism too much cynicism]] producing this effect. A sure sign of audience apathy setting in is if [[RootingForTheEmpire they start rooting for]] the OmnicidalManiac--the setting is so bleak that no part of it is worth saving. When total oblivion looks like your best option, something is ''wrong''. If the show is successful as a comedy it can avoid this trope even if it has EvilVersusEvil and the viewer doesn't really care too much for the characters, by having entertaining villains and being a fun experience. Horror is one of the genres that is most likely to suffer from this trope, because giving up and not caring sucks a lot out of the fear factor. Dystopian fiction, particularly of the post-apocalyptic variety, is another genre that's quite vulnerable to this trope for largely the same reasons.

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This is the emotional result of [[ShadesOfConflict Black and Black Morality]]. Because the conflict between the equal evils is essentially meaningless, there is no dramatic tension. Maybe one EldritchAbomination eats you in a slightly less painful manner than the other one, but either way, you're still screwed. You can't support any factions or hold on to any ideals after this effect has set in. All you can do is sit agape as the writers apparently attempt to outdo themselves at making the setting [[FromBadToWorse even worse and more unpleasant and more nihilistic]] to the point where the media is a bland miserable monotone. This trope is not just about a CrapsackWorld, but about EvilVersusEvil and [[SlidingScaleOfIdealismVersusCynicism too much cynicism]] producing this effect. A sure sign of audience apathy setting in is if [[RootingForTheEmpire they start rooting for]] the OmnicidalManiac--the setting is so bleak that no part of it is worth saving. When total oblivion looks like your best option, something is ''wrong''. If the show is successful as a comedy it can avoid this trope even if it has EvilVersusEvil and the viewer doesn't really care too much for the characters, by having entertaining villains and being a fun experience. Horror is one of the genres that is most likely to suffer from this trope, because giving up and not caring sucks a lot out of the fear factor. Dystopian fiction, particularly of the post-apocalyptic variety, is another genre that's quite vulnerable to this trope for largely the same reasons.
''wrong''.
19th Jan '17 1:32:03 PM Willbyr
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* The Tokusatsu parody ''Gun Caliber'' written and directed by the YouTube channel [[https://www.youtube.com/user/garageprotv/ Garage Hero]] takes place in an alternate Japan where [[spoiler: Superheroes have gone the way of celebrities and have become so insufferably corrupt that the government now regulates them using a ratings system. Heroes are now treated as [[AllOftheOtherReindeer national pariahs]] because of this and [[HeroWithBadPublicity are all but underground]]]]. The story attempts to hammer home the fact that the protagonist is a JerkWithAHeartofGold, but at no point does he display any of the positive qualities that make up a hero; instead coming off as a insufferable HeroicComedicSociopath who despite having a DarkAndTroubledPast that [[JerkJustifications explains their lethargy]], does utterly nothing but go on [[ADateWithRosiePalms many dates with Rosie Palms]] and [[HatesEveryoneEqually hate everything and everybody else around him the rest of the time]]. What doesn't help is that ''eight of the thirteen episodes'' of this series are dedicated not to world-building, (Though it is there) but to how unrepentant this [[NominalHero supposed hero]] and his setting is.[[note]] Episode 5 literally has him and three Sentai Expies [[DisproportionateRetribution haze a high-schooler that calls him and his cohorts out for ranting drunkenly in a public study area]]. Other [[SarcasmMode lovely feats]] also include him interrupting a reporter while drunk and tricking a DamselInDistress into giving him a blowjob.[[/note]] By the time Gun Caliber displays any redeeming qualities, the miniseries is basically over and it's too little too late. What doesn't help is that the setting is a CrapsackWorld inhabited by [[JerkAss Jerkasses]], [[EverybodyHasLotsofSex Overly-horny fools]], or [[BreadEggsBreadedEggs variations of both]]; and the two sole exceptions to this rule have a combined total of eight lines, tops. The show's attempts to send a ScrewDestiny message end up lost amid the sex jokes, stereotypes, unwavering cynicism, and utter lack of conflict. It seems like it's trying it's best to be a KamenRider Parody in the same vein that HikoninSentaiAkibaranger is to SuperSentai, but instead of actually parodying the source material, it puts [[UpToEleven way too much focus]] on the "mature" alcoholic sex humor. As a result, ''Gun Caliber'' comes off as a miserable, bleak, depressing mess with a few [[ArsonMurderAndJaywalking amazingly-shot combat segments and nice cinematography]].

to:

* The Tokusatsu parody ''Gun Caliber'' written and directed by the YouTube channel [[https://www.youtube.com/user/garageprotv/ Garage Hero]] takes place in an alternate Japan where [[spoiler: Superheroes have gone the way of celebrities and have become so insufferably corrupt that the government now regulates them using a ratings system. Heroes are now treated as [[AllOftheOtherReindeer national pariahs]] because of this and [[HeroWithBadPublicity are all but underground]]]]. The story attempts to hammer home the fact that the protagonist is a JerkWithAHeartofGold, but at no point does he display any of the positive qualities that make up a hero; instead coming off as a insufferable HeroicComedicSociopath who despite having a DarkAndTroubledPast that [[JerkJustifications explains their lethargy]], does utterly nothing but go on [[ADateWithRosiePalms many dates with Rosie Palms]] and [[HatesEveryoneEqually hate everything and everybody else around him the rest of the time]]. What doesn't help is that ''eight of the thirteen episodes'' of this series are dedicated not to world-building, (Though it is there) but to how unrepentant this [[NominalHero supposed hero]] and his setting is.[[note]] Episode 5 literally has him and three Sentai Expies [[DisproportionateRetribution haze a high-schooler that calls him and his cohorts out for ranting drunkenly in a public study area]]. Other [[SarcasmMode lovely feats]] also include him interrupting a reporter while drunk and tricking a DamselInDistress into giving him a blowjob.[[/note]] By the time Gun Caliber displays any redeeming qualities, the miniseries is basically over and it's too little too late. What doesn't help is that the setting is a CrapsackWorld inhabited by [[JerkAss Jerkasses]], [[EverybodyHasLotsofSex Overly-horny fools]], or [[BreadEggsBreadedEggs variations of both]]; and the two sole exceptions to this rule have a combined total of eight lines, tops. The show's attempts to send a ScrewDestiny message end up lost amid the sex jokes, stereotypes, unwavering cynicism, and utter lack of conflict. It seems like it's trying it's best to be a KamenRider Franchise/KamenRider Parody in the same vein that HikoninSentaiAkibaranger is to SuperSentai, but instead of actually parodying the source material, it puts [[UpToEleven way too much focus]] on the "mature" alcoholic sex humor. As a result, ''Gun Caliber'' comes off as a miserable, bleak, depressing mess with a few [[ArsonMurderAndJaywalking amazingly-shot combat segments and nice cinematography]].
18th Jan '17 10:00:52 AM Starshock
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Contrast TastesLikeDiabetes, this trope's polar opposite, and also RootingForTheEmpire, but ''only'' when all sides involved are evil and yet the audience still likes them.

to:

Contrast TastesLikeDiabetes, this trope's polar opposite, and also RootingForTheEmpire, but ''only'' when all sides involved are evil and yet the audience still likes them.
them. Compare and contrast {{Glurge}}, which is what happens when [[XMeetsY you combine the sickeningly sweet and the depressingly dark]].
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http://tvtropes.org/pmwiki/article_history.php?article=Main.DarknessInducedAudienceApathy